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r audiences and film-makers alike. This critical interest is, I argue, related to the relative weakness in both cases of traditional semantic/syntactic matrices of generic identity, leading to a protean aspect that is well suited to exploiting marketplace currents and trends. That horror takes its core generic material from the body, both engines of contemporary critical enquiry and popular cultural debate has confirmed its relevance.

(Barry Langford, Film Genre: Hollywood and Beyond, 2005)

Why choose to live in fear?

Today we get up, go to work, come home, watch TV and go to sleep. To combat the monotony we chase the death rush by other means, as perilous as base or bungee jumping, or as sanitised as roller coasters and theme parks, while for most the simple thrills of the horror movie are more than enough to satisfy and provide a little taste of fear. That’s just one theory. Another is that we watch horror movies because they offer us a challenge – to look fear and death in the face and survive the ordeal. The ascendance and growing popularity of horror cinema since the new millennium is certainly a fascinating trend in contemporary society, and one which is long overdue an in-depth and objective analysis. Through researching the appeal of the horror genre I shall look into the social and political climate into which these movies fell over the last ten years, and discuss the merits of the movies themselves or, in some cases, lack of them.

(Marshall in Carolyn, 2008).

The horror film, throughout its shady, rebellious history has earned more money than respect. Though these days there are film festivals, websites, books, magazines, Masters theses, and even film distributors devoted entirely to the consumption of the dark side of entertainment, the mainstream media and self-appointed intelligentsia of pontificators cluck their tongues and blame the fall of society on these nasty little gutter-dwellers we call our own. In truth, the horror film may be the best mirror of the world’s zeitgeist we have, reflecting, rather than creating, the ills and crises of the planet’s collective psychology.

It’s been said before and it bears repeating that horror is to cinema what rock and roll is to music: rude, abrasive, pushy and anti-establishment. No wonder, then, that it is so embraced by the young. What better way to break away from parental chains than to blast distorted guitars on the stereo, and revel in disemboweled damsels in distress on the widescreen plasma? The young are immortal, right? And who can blame them for gathering tribally in front of the Cineplex screens to cheer on the latest adventures of the newest teen-gutting horror franchise star? They know it’s not real, that they are thumbing their noses at mortality. Yes, deep-seated fears are faced on the screen, from a safe distance, allowing the audience to safely play tag with what scares them.

A good horror movie has all the elements of a good drama: creative storytelling: compelling characters placed in relatable plots, an artist’s point of view. But a really good horror本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。